Born September 9, 1966, in Brooklyn, Adam Sandler was raised in Manchester, New Hampshire. At the age of 17, his brother dared him to take the stage at a Boston comedy club's amateur night and was surprised at how well Adam performed. That planted the seed for his career, though he first attended NYU, receiving a Fine Arts degree in 1989. Not long after graduation, Sandler gained a position with the NBC-TV sketch-comedy show Saturday Night Live, and became one of the show's most popular actors during his five-year stint. In 1993, Warner Brothers signed Sandler to a recording contract, and he delivered his debut album They're All Gonna Laugh at You that September. The LP became popular with college radio and sold well, earning a gold certification and a Grammy nomination. Sandler broke out in the cinema the following year, appearing in Mixed Nuts and Coneheads before his first starring vehicle, 1995's Bill Madison. His second comedy album, What the Hell Happened to Me?, was released in early 1996; it leapt into the Top 20 and eventually went platinum. By now one of the biggest comic stars in America, Sandler reeled off a string of blockbuster films including Billy Madison, The Wedding Singer, The Waterboy and Big Daddy before releasing his third album, Stan and Judy's Kid, in 1999. The 2000s found Sandler trying his hand at less comedic rolls (Punch Drunk Love), animation (8 Crazy Nights), but the box-office results were mixed. In 2004 he released his fifth album, Shhh...Don't Tell. ~ John Bush
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Humour - Released July 13, 2004 | Warner Bros.
Almost five years after the mediocre Stan and Judy's Kid, Adam Sandler returns with a winning set of sophomoric potty humor. Recycling the structure of every Sandler album before it -- minus the songs-only What's Your Name -- Shhh...Don't Tell bounces between songs and sketches but the vulgarity has been kicked up a notch. It's a great move considering that the on-screen Sandler has been venturing into Jimmy Stewart territory. There'll be none of that here, as Sandler introduces listeners to the proud "Mayor of Pu**ytown," a man named "Timmy Tinyhole" who can't impress his friends with his puny flatulence, and a "Gay Robot" that just happens to be a master of football statistics ("The Eagles will win in three. Now can I grab your butt?"). "Secret" is the highlight with its Euro-disco ode to men who worry about their bikini lines too much. The bumbling character Pibb is a one-trick pony the album could have had a little less of, but fans have been waiting for Sandler to come back to this absurd and low-brow style of humor for too long. The characters on Shhh...Don't Tell are hardly the sweetheart Mr. Deeds was, and the album is all the funnier because of it. ~ David Jeffries
Humour - Released September 10, 1999 | Warner Bros.
It says something that Adam Sandler returned to recording comedy albums after he became a superstar, earning 20 million dollars per movie. Perhaps the records gave Sandler the opportunity to explore his well-documented vulgar side, something that he couldn't really do in Big Daddy, the movie that appeared three months before his fourth album, Stan and Judy's Kid. Then again, Stan and Judy's Kid isn't all that vulgar, at least compared to his previous efforts. Sure, there's the predictable profanities, smutty jokes, and the like, but those are balanced by absurdity and deliberately annoying character sketches, like the ridiculously over-long "Whitey." These sketches alternate with songs, such as the bad hip-hop parody "Dee Wee (My Friend the Massive Idiot") and the crowd-pleasing "Chanukah Song, Pt. II." The fact that he has to write a sequel to one of his most famous routines indicates how routine Stan and Judy's Kid feels. Parts of it are mildly amusing, parts are actively irritating, but none of it surprises or shocks or even elicits genuine belly laughs or outrage. Perhaps expanding his on-screen persona to include sentiment has dulled his off-screen comedic persona somewhat, but that's not really the case, either. The simple fact is he didn't seize this opportunity to run wild; he didn't give himself the chance to really piss off his vocal critics or please an audience hungry for moronic schtick. It's just an average comedy album -- and he hasn't made one of those before. ~ Stephen Thomas Erlewine
Humour - Released September 24, 1993 | Warner Bros.
In his incredibly successful run of films, Adam Sandler's constant has been his penchant for playing the jokey everyman. From Happy Gilmore to Mr. Deeds, he's the likeable lout with a heart of gold and a love of guy stuff like hockey, farts, and McDonald's breakfasts. His perpetual hangdog look and Jewish-joke songs have carried him a long way since 1993, when the Saturday Night Live alum issued They're All Gonna Laugh at You, his first -comedy album. The humor was of the class-clown school: crass, obvious, and self-absorbed. But its bits formed the foundation of Sandler's charmingly foul comic empire. Instead of its stated purpose as a concept album based loosely on high school, Laugh functions more as a kiss-off to Sandler's own adolescence. "Who's laughing now?" he seems to be asking. Of course, that's only in its subtext. On the surface, the album is dominated by classless sex jokes and weak ideas that linger like too-long SNL sketches. (The self-explanatory "Longest Pee" is interminable). But in the obtuse exhortations of The Buffoon, or his lovingly wicked tribute to the lunch lady, Sandler established jokes a generation of college students could repeat for hours and would pay to see at sold-out shows. Like all of his impersonations, The Buffoon is simply Sandler, amplified and goofy. "I got a snake, man! One time I gave it some beer! It was slithering this way and that! It was all f*cked up!" It's a joke reduced to its blatant catchphrase. Of course, the same technique falls on its face when applied to "Beating of a High School Bus Driver" and its lame cousins. But as sexual humor, it again becomes stupid fun. In "At a Medium Pace" and "Assistant Principal's Big Day," Sandler becomes the kid on the playground whose brother taught him all the bad words; amazingly, it's still cringingly funny, if only because he's obviously enjoying being so bad. In telling fashion, They're All Gonna Laugh at You ends with The Buffoon getting the girl (actually just pal David Spade). Sandler's album made hit comedy from his childhood terrors and he laughed all the way to the bank. ~ Johnny Loftus
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